What came first - flying or photography?Flying was a trigger to treat photography more
seriously. I started flight training in 2003, and
immediately after getting my private license I
bought a more advanced camera to photograph
my first cross-country flights, and to document
the subsequent training. This passion extended
itself into other areas of photography, and
ultimately into my career – since 2010 I have
been working as a photographer in New
York City, shooting editorial assignments,
documentary, interiors, and occasionally some
still life.
Why do you prefer using airplane over drones?I started shooting aerial photography well
before drones became available, so airplanes
were the only tool of choice. But that's not really
the point – I find the act of flying to be the core

ingredient of the creation of
the photographs. Drones offer
great versatility due to their
slow speed, a lot lower altitude,
relative ease of operation,
companies compete by adding
cool features... But even all those
extra perks won't replace that
special feeling that piloting gives
you – the sense of freedom, the
detachment from everything
else, the excitement of being
able to do something almost
against human nature. It is that
very emotion that I try to share
through my photography. Being
there with all the space around
me while holding the camera in
my hand, this allows me to have
that special connection between
me and the final image.
Wait, did you say you are flying and photographing at the same time? That's correct. In most of the
cases I am the sole occupant of
the airplane – the only exception
is when I photograph more
demanding missions like low-
level work, flying over congested
areas or in presence of other
traffic. In such cases I do take
a safety pilot with me, that
monitors the progress of the
flight, watches for other aircraft,
sometimes also controls the
airplane while I guide him, or
hear on the heading and altitude.
I still prefer to fly solo in hunt for
captivating scenery, and it seems
like the outcome tends to be
more poetic and less mechanical.
Isn't it dangerous?While I go to great lengths while
doing traditional photography
to get that 'perfect shot', this
is not the case with aerials.
Safety – mine and of the others
– is the most important, and
it goes before anything else. I
must constantly monitor flight
parameters: airspeed, altitude,
engine parameters, watch for
other traffic, and monitor the
location to avoid restricted areas
or places where I am not cleared
into. It adds to the sense of
mission, and I enjoy this aspect
very much. A well planned and
executed flight is actually very
safe – I am always leaving a large
margin of safety, and airplanes
are usually very stable and tend
to remain in attitude previously
set by the pilot. The airplane I
am flying – a Cessna 172 – has
been used as a flight trainer for
many years, and it's therefore
very forgiving, especially at low
speeds.
Besides piloting, what are the challenges the photographer faces with aerial scenery? Aerial photography takes a
lot of extra planning. It starts
already on the ground – checking
weather forecasts to determine
the conditions at a specified
location in the future: I look
for wind directions at various
altitudes, observe sky conditions,
locations and direction of the
fronts, pressure patterns, etc. I
have found myself constantly
monitoring the Prognostic Charts
(those 'big picture' weather maps
we were used to see back in the
day on the TV), even when I am
not flying. That way I can spot a
good future weather opportunity
in terms of that 'special' light that
photographers are looking for.
Then, there are extra challenges
while piloting the plane – it is in
constant motion, and sometimes
it takes several attempts to get

minimal distractions. This all
aids in composition – there
is no unnecessary objects
could otherwise take away the
attention from the key elements
of the image.
Besides Winter, do you have other aerial projects?Of course. I photograph all
year long – I am very happy to
be in the area that offers all 4
seasons. I do find various topics
around (and above) NYC and I
try to create series that will be
somehow cohesive and offer
visual continuation. It seems
like a few other projects may
see fruition this coming year. It
may be easy to take a stunning
aerial photograph, but it's very
challenging to shots that form
a thoughtful series, with so
many factors being out of your
control; I feel that a successful
series must offer some degree
of similarity between images.
You have noticed that I avoid
the response to the question,
and it is correct. I prefer showing
the work, rather than talking
about it. And, in this era of
drones, it's so easy to take aerial
photographs... I wouldn't like to
see someone else's work before
mine is complete...

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Carola Kayen-Mouthaan, Dutch
photographer, 47 years old,
created a special series focused
on the Dutch beauty influanted
of different centuries, mostly
exhibit the Mid evil times.
She has been a professional
photographer for the past 9
years.
Creating the extraordinary fine
art series from her studio at
home.
Looking at her work, you
can almost confuse it with
Renaissance or mid evil paintings
by Rembrandt for example.
Trying to make the most
authentic image, she takes her
photographs with real animal in
different positions on the subject
and the special technique, The
brown background, sometimes
black, creates Hyper realism
images from another period of
time.
In this series, she used 1 studio
flash light, with a Softbox and big
grid for softer light.
Her work was published in
many photography and fine art
magazines around the world,
including Imirage magazine
,Modelleland , ND magazine,
Zoom, clipfoto magazine, FEMME
Rebelle Magazine and now
also on the International Lens
Magazine.
Carola Kayen-MouthaanDutch Beauty

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was born and raised in the New
York City area. The skyscrapers
that comprise the skyline of
New York have always been
of interest to me. When I was
young, I remember marveling out
the car windows at the concrete
canyons of Manhattan as we drove
through “The City”. Later, as a college
age adult, whenever I returned to
New York for visits, I always looked
forward to catching a glimpse of the
NYC skyline from a distance before
meeting friends for dinner or drinks
there at night.
I discovered photography pretty late
in life. I picked up a still camera for
the first time in 2002. After the Global
Financial Crisis of 2008 robbed me
of my business, I gave up a career
as a lawyer and decided to pursue
photography full time. As part of that
career change, I moved back to the
New York City area. Coming back to
New York as a photographer gave
me an opportunity to see New York
City in a whole new way. That’s what
these photos are about: my love
affair with this iconic metropolis.
I enjoy using color in my photos -
while not necessarily known for their
color palette, there is plenty of color
to be found in the buildings that
make up the skyline. I also enjoy
night photography and have several
collections of photos matching the
full moon or stars with well-known
terrestrial landmarks. These photos
take lots of planning - sometimes
weeks or months in advance. I have
to know exactly when and where to
setup to get these shots.
Completely self-taught as a
photographer, I try to seek out
unique vantage points for my
photos of the skyline. I look for
interesting and dramatic portals into
the world that is New York City. I use
long exposure techniques to capture
movement of the clouds and water,
and thus create a surreal experience
for the viewer. I also follow the
weather very closely to anticipate
when we will have dramatic skies. In
pursuit of such images, on more than
one occasion, me - and unfortunately
my camera gear - have received a
good soaking.
These photos are a celebration of the
architecture, history and vibrancy of
New York City. Like a shell that holds
all its energy in-place, the New York
City skyline is both beautiful and
functional. And of course, iconic.
These images are my homage to the
City and skyline that I love.
I
PETER ALESSANDRIA
I
♥ NYC

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Moroccan photographer and filmmaker Achraf
Baznani (pronounced: Ashraf Baznani) carries
on the traditions of Surrealism with his wild,
imaginative, and wholly impractical imagery.
Among his inventive scenarios, small human
figures—often the artist himself—appear trapped
within glass jars or the size of a camera lens; in
other works, Baznani more or less dissects his
body, as for example, in one, he cleanly removes
his brain from his cranium, or in another, twists off
his hand, much as if it were a light bulb. Imparted
throughout such works are strong senses of humor
and wonder, and as such, Baznani’s art offers a
Surrealistic take on life experience in the digital
age.
His Artworks were featured in various magazines
worldwide.
Baznani's photography has received a worldwide
acclaim for a remarkably diverse array of work.
He has been awarded the International Colosseo
Award in Italy and the Kunst Heute Award in
Germany. Achraf's work has been exhibited in
Germany, USA, France, Morocco, Hungry, Ivory
Coast and Portugal.
ACHRAF
BAZNANI
The Imaginary World of

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Aleksandar Gligoric was born in 1979. in Novi
Sad, the capital of culture in former Yugoslavia.
Ever since he was a child, he has expressed great
interest in different forms of art, especially music,
fine literature, cinema and photography. He was
a guitar player for a few influential rock bands
at the time and he was doing photography as
a hobby, but having to support his family in a
country torn by wars and constant crisis, he was
forced to put his real interests and talents a side
for a while.
He started a few business, which all turned out
to be very successful and a few years ago, when
he could finally find the time to devote himself to
his real passions, he started doing photography
as something more than just a hobby. He has an
excellent eye for the esthetics and detail, which is
the firs thing you will notice on his photographs.
He has presented his work throughout all kinds
of social media and reaction of the public to his
work is astounding. He is able to capture an entire
story on just one photo and what he perhaps
lacks in formal education, he truly does make up
for with talent and natural ability to see things in
a unique way. His landscapes are full of life, colors
and light and his portraits are overwhelming
with emotion that he seems to be able to bring
to surface, from what seems to be an ordinary
subject on the first glance.
When it comes to his relationship to clients, he
is very flexible, devoted, open-minded, open to
suggestions and always available to people he
works for and people he works with. After all, he
would not have been able to succeed in other
lines of business if he did not have people skills
and quality relationships with his clients, so he is
definitely the person to work and cooperate with.
Aleksandar Gligoric
Black Angels
Top and skirt NINA RAJAK ATELIER
(model Aleksandra Sijan)
Aleksandar Gligoric

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UTILITARIAN
TEN
An exploration of mindfulness and the aesthetic possibilities provided by objects of utility.By Brandon Mathias Sweet

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While conceptually is at
times a component of my
work, self-expression is
above all my first priority.
Employing the basic
elements of photography I
photograph what moves me,
photographing the ordinarily
overlooked, with an aim
to arouse passion in the
prosaic. This is how I create
something meaningful to me.
For over a decade, I have
photographed a variety of
genres, including weddings,
portraits, restaurants, and
real estate. Having finally
settled on what's meaningful
to me, the often overlooked
mundane aspects of everyday
life, I hand print all my black
and white film allowing me to
best articulate my vision.
Living and working in Saint
Paul, Minnesota.
UTILITARIAN
TEN
Brandon Mathias Sweet

I’m a landscape, seascape and tourism
photographer from New Zealand. A
relative newcomer to the photography
scene my photography journey started
just two years ago.
Everyone needs something that takes
them away from daily life. Something
that does good things for the soul.
Photography does this for me. I’m
someone that needs to be outside so
landscape photography is perfect. And
when I’m out there, scouting locations,
setting up, visualizing the outcome and
taking the photo, there’s no time to
be thinking about anything else. I’m
totally in the moment.
I spend a lot of time in the South Island
of New Zealand. The landscape is
dramatic and a photographers dream.
My heart however, will always be in the
North Islands, Coromandel Peninsular.
The coast line here is incredible and
much of the peninsular is native forest.
I’m looking for that something different.
Hazy light, dramatic clouds, intense
reflections… it’s all out there if we just
take the time to see it.
I’m inspired by the incredible diversity
nature offers. The location, time of day
and seasons offer up a uniqueness
that is our privilege to capture.
Photography teaches patience. I have
a clear picture in my head of the image
I want and will return time and again
to a location until I get it. I’m not at
all concerned by how long it takes.
The journey I go through to get that
final image is part of the magic of the
experience.
I often add a human element to my
images when I believe it’s necessary,
to tell the story, explain scale and for
color. I’m always chasing sunset and
sunrise. There is something extra
special and mysterious about the light
at these times.
I particularly enjoy the challenge of
long exposures and these are the
majority of my images. From a few
seconds to a few minutes, I love the
drama filters can give to an image.
I think it’s important to shoot and talk
with other photographers on occasion,
to research techniques, and to just get
out there and try it. If you stop being
open to learning….. You may as well
stop.

(Queenstown lakes, Tekapo, Catlins, Aoraki/Mt Cook, Castlepoint, Milford Sound/Piopiotahi, Coromandel)This series, for me, was about showcasing some of New Zealands’ wonderful
landmarks and some lesser known locations that are dear to my heart.
Creating a collection that depicts the natural beauty I see through my lens and
communicating this to my audience is very important to me.
In world terms, New Zealand is a relatively small country, but its packed with
the most incredible landscapes. If you’ve never been, then prepare to be
speechless with the sheer beauty of it. Carved glaciers, majestic mountains,
vast valleys, rugged coastlines and world heritage sights. It’s also first to greet
the day and the sunrises and sunsets here will have you spellbound.
Capturing this beauty is a privilege.

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ORNA NAOR
Orna is a Street Photographer, lecturer and member of Israeli Street Photographers collective – URBANICA. Her street photography is shown in brick and mortar galleries in Israel and abroad, as well as in various Street Photography groups over the net, in some she also an Admin.Orna has her unique and creative way of approaching the street photography. She focus on human moments, emotions and creating her own story. Her work was published in various Street books and magazines (WePhoto Street, World Street Photography 2015, MonoPix, We Street, Israeli & International Lens Magazine)Children of the world

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Meet Art Market Magazine, Bringing you inside the global art world with more access and insight to the people, places and events that shape our industry. With deeper focus on auctions, art fairs and exhibitions from all over the world, interviews with the new emerging artists and coverage of the most updated and neat events. Available for subscription and download on the App Store, Google Play, Magzter.com , joomag.com, issuu.com and available in a Kindle version on amazon. Available in a Print Version By MagCloud.com in U.S.AInternational Art Market Magazine

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Available On All Platforms
Available in a Print Edition by

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I love stories.
Life stories, questions about human mental sanity
boundaries, cultural identity and gender identity,
memory and how it affects the life stories.
My family history makes me want to explore and touch
an exposed nerve. Memories, words, pain, and love. The
narrative of the images I create range from private to
general, between the intimate and personal to political and social.
My cultural space was created from the inside and from the ongoing
movement – between countries and languages, and from the dialogues
with creators from different artistic disciplines.
Each series of works begins with an idea, when photography is a
visual basis. From there I go off on a long artistic language search
of the correct and accurate for all series: photography, manipulated
photography, photo sequence, motion photography, text and sound.
At the processing phase I test and sort them through the prism of
aesthetics, concept, intellect and ideology.
The transition from the studio into an exhibition space involves
examining various options of size, framing, and media.

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"Living to tell "
ALICIA SHAHAF
Born in Buenos Aires, Argentina; lives and works
in Israel since 1980.
Graduate of Camera Obscura Art School, Israel
– Photography department (1995) and Curators
Seminar (2003)
"Draft Studio" owner, photographs women,
dance groups and theatre:
Gives one on one and small group workshops
on photography, developing the creative mind
and creating a portfolio.
Writes cultural and artistic articles for the
"Notes" project (Hebrew)
http://draft.co.il/